CRIM

Citations: The Renaissance Imitation Mass Project

Observations

ID Observer Piece Observation type Show details
<426> Anne Nautré [CRIM_Model_0020] Susanne un jour Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Quinta Pars
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

Remarks: HR concerne les mesures 38 - 40 NIM concerne les mesures 46 - 50

<428> Anne Nautré [CRIM_Model_0020] Susanne un jour Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Bassus
Quinta Pars
Superius
Contratenor
Tenor

Melodic interval of entry: 5+4+4-5-

Time interval of entry: M1/4/2/8

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: Ici la fugue est utilisée comme introduction à la longue séquence de quotation à partir de la mesure 55

<945> Anne Nautré [CRIM_Model_0020] Susanne un jour Counter-soggetto Expand

Counter-soggetto

Voice:
Contratenor

Rhythmic durations: True

Melodic intervals: True

<540> Anne Nautré [CRIM_Model_0020] Susanne un jour Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Quinta Pars
Bassus

Simple: False

Staggered: True

Sequential: False

Fauxbourdon: False

Remarks: L'homorythmie concerne ATQB m.48-50, puis SAQ m.50-53. Le NIM concerne les m.46-50.

<544> Anne Nautré [CRIM_Model_0020] Susanne un jour Interval patterns Expand

Interval patterns

Voices:
Superius
Superius

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

Remarks: Interval patterns concerne les voix SA Le duo contrapuntique est accompagnée par la voix Q

<550> Anne Nautré [CRIM_Model_0020] Susanne un jour Homorhythm Expand

Homorhythm

Voices:
Contratenor
Tenor
Bassus
Superius
Quinta Pars

Simple: False

Staggered: True

Sequential: False

Fauxbourdon: False

Remarks: L'homorythmie concerne ATB m.53-55, SAB m.55-57.

<379> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<383> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<381> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<389> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The altus and bassus make use of two repeated motives: (1) a rising "cumulative fourth" consisting of a rising second + rising third in minims, and (2) a stepwise falling fourth in dotted minim & crotchets. In one place in the altus the two motives are spliced together to form a countermelody beneath the first note of the soggetto; otherwise they occur separately. The motives don't line up with the subject consistently, so they don't form NIms. Could be considered "contrapunto fugato"?

<393> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor
Bassus
Altus

Melodic interval of entry: 5-5-4+

Time interval of entry: S1/1/1

Periodic: False

Strict: False

Flexed: True

Sequential: True

Inverted: False

Retrograde: False

Remarks: The superius and tenor are in strict fuga at the lower fifth, as usual in this piece. The altus also follows the bassus in strict fuga at the lower fourth, but only the first two notes of the soggetto are the same between the superius/tenor and bassus/altus pairs. Possible hypothesis: having established the superius/tenor framework, Mouton attempted to elaborate it into a full four-voice stacked canon, but was forced to alter the third and fourth entrances because of contrapuntal difficulties?

<377> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<399> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor
Altus
Bassus

Melodic interval of entry: 5-1+9-

Time interval of entry: S1/3/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: Superius/tenor in strict fuga at the lower fifth as usual. Third entrance in the altus truncated after its fourth note, after which it continues in free counterpoint. Fourth entrance dubious, if it is considered an imitative entrance at all: it comprises only the first two notes, with the interval between them flexed from a 2nd to a 3rd.

<409> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<425> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor
Altus
Superius
Tenor

Melodic interval of entry: 5-1+5+5-

Time interval of entry: M2/6/7/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: The third entrance (altus) is flexed between its first and second notes, so that Eb-Eb replaces D-Eb. This could be considered an entrance at the second above the tenor (changing the intervals to 5-2+4+5-) but it seems better to judge from the remainder of the subject, excluding the "flexed" first note. The final two entrances in superius and tenor are freely augmented (but strict in respect to each other, except for the lengths of the first two notes).

<407> Jon Oddie [CRIM_Model_0021] Benedicta es Form and process Expand

Form and process

Internal repetition: True

Comment: The chant melody has a built-in repetition at this point, and Mouton sets both repetitions identically, meaning that the complete four-voice complex formed by superius/tenor fuga + free altus and bassus is immediately repeated, without any change or exchange of voices,

Remarks: The chant melody has a built-in repetition at this point, and Mouton sets both repetitions identically, meaning that the complete four-voice complex formed by superius/tenor fuga + free altus and bassus is immediately repeated, without any change or exchange of voices,

<385> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga Expand

Fuga

Voices:
Superius
Tenor
Bassus

Melodic interval of entry: 5-4-

Time interval of entry: S1/6

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The first two entrances are strict, as usual; the third is freely diminished in rhythm and lacks its final note (or one could say the final melodic interval is flexed from a 2nd, A-G to a 3rd, A-F)

<406> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<398> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<382> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<384> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<388> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<408> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<380> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<378> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<392> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<376> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<424> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<947> Anne Nautré [CRIM_Model_0024] Susanne un jour Soggetto Expand

Soggetto

Voice:
Superius

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False